TONAL
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Gentile da Fabriano, Adoration of the Magi, 1423
Gentile Da Fabriano
Gentile da Fabriano was an Italian painter known for his participation in the movement of international Gothic with his work, “Adoration of the Magi”. Born in Fabriano, Italy in 1370 and died in 1427.
Valle Romita Polyptych,
Gentile da Fabriano, 1410-‐ 1412, 280 cm × 250 cm (110 in × 98 in)
Adoration of the Magi, Gentile da Fabriano, 1423
A lot of Fabriano’s paintings have been lost like “Madonna with Child” although his works are masterpieces of International gothic movement with “Valle Romita Polyptych” being his first masterpiece in Venice. Followed by ”Adoration of the Magi” in 1423 which was created in Florence.
Adoration of the Magi, 1423
Adoration of the Magi, Gentile, 1423
https://www.google.co.uk/search?client=s afari&rls=en&q=tempera+definition&ie=U TF-‐8&oe=UTF-‐ 8&gfe_rd=cr&ei=3MmJWPCxNab38Ael_b7 YCw
This painting, “Adoration of the Magi” is 300cm x 282cm big (Largescale – Altarpiece) and is made using the tempera method, which is using pigments dispersed in an emulsion miscible with water, mostly egg yolk. This method was used to in Europe in the early 13th Century – 15th century for fine painting. Furthermore, ”Adoration of the Magi” has gold on its panels for example gold on the crown of the youngest king. The painting also has three panels at the bottom called the Predella. Overall, this painting is based on the story of the ”Birth of Jesus”
Adoration of the Magi, 1423 In the foreground show the holy family, Mary and Joseph have been forced to take shelter with their newborn child. The kings are Haloed to show their importance and are shown taking turns in offering a gift of gold. The eldest King kneels before Mary and Christ, with his crown beside him, kissing the tine baby’s feet. The second king is about to take his crown of his head and kneel to offer his homage to Christ. The tones are clearly seen in the kings facial features therefore creating naturalism. The qualities of Early Renaissance and International Gothic are both present in this piece of Art work with a combination of artwork and decorative effects with the serpentine forms applied all around the piece of artwork. The three arches above the main scene, show the complete story of the Birth of Christ. The background in the arches, the three kings are shown travelling to the castle allowing us to follow a cartoon-like continuous journey to Bethlehem. In order to look more closely into my theme, tone, I looked into other artworks, in northern Europe too.
The third king is patiently waiting for his turn to offer his homage.
Jan Van Eyck Madonna of Chancellor Rolin 1435 Oil on wood Small scale
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JAN VAN EYCK
Ghent Altarpiece, The Twelve Interior Panels, Jan Van Eyck, c. 1390 – 1441
Jan Van Eyck is named “the leading painter” of the 15th century. He was born in 1380’s and died in Bruges, in 1441 under the employment of Duke Philip. Van Eyck painted secular as well as religious subject matter portraits and his works were associated with International Gothic style.
Jan Van Eyck, Man in a Portrait (could be a self-portrait), 1433, 25.5 x 19 cm
Jan Van Eyck has created the Ghent Altarpiece and The Arnolfini Portrait. It is said that Jan Van Eyck are signed and dated with a variation of his motto, ”ALS IK KAN” which means ‘I (Eyck) can’ which is a pun from his name.
Madonna of Chancellor Rolin
The “Madonna of Chancellor Rolin” is a Northern Renaissance style painting. The Northern Renaissance c. 1430-‐ 1580) is a term used for Renaissance in Europe where artists used oil paints to replicate the world, to create realism in their paintings as they believed if it looked real enough the painting would come true. Jan Van Eyck, was employed under the Duke of Burgundy as a court painter. And the painting shows the purpose and meaning of the inclusion of the patron. It shows Chancellor Rolin’s devotion, piety, his power and status. His also represented as a role model to be good in life.
Oil on panel, 66cm x 62 cm
https://en.wikipedia.org/wiki/Jan_van_Eyck
Madonna of Chancellor Rolin Chancellor Rolin, is kneeling on the left side of Madonna clasping his hands before her in prayer. Rolin is wearing detailed and expensive clothing which consists of a gold brocade jacket trimmed with mink fur. This highlights his wealth and status in the classical era. Furthermore, Rolin has serious somber expression, almost as if looking up from the book of hours which is shown with rich intense coloring. Rolin is holding the Book of hours which is a Christian devotional book. Nicolas Rolin, was the Chancellor of the Burgundy Empire and the Duke of Burgundy’s right hand man also known as Philip the Good. Jan Van Eyck painted Chancellor Rolin when he was in his sixties
Oil on panel, 66cm x 62 cm
Madonna of Chancellor Rolin Madonna is seated on a cushion with a marble seat with geometric designs and her attire is which consists of a red cloak with pearls and jewels, highlighting her importance. Virgin Mary (Madonna) and baby Jesus sit in a traditional pose of the Virgin Wisdom. The light coming in through the window, casts shadow on the figure of Madonna creating a sculptural chiaroscuro forms. Figures in the foreground, like Chancellor Rolin and Madonna are larger than two figures in midground which indicates space and makes the scene believable and realistic.
Oil on panel, 66cm x 62 cm
The paintings also contains stories from the Old Testament which represented in capitals. From the story of Adam and Eve and also the drunkenness of Noah which relates to Romanesque Architecture.
Urban and rural landscapes like the Cathedral of Utrecht Tower and Liege Cathedral are also present in this painting. The painting has a symmetrical composition like symmetry related patterns for the tiles on the floor. Also, the garden behind the three arches create mid-‐ground which adds the illusion of distance and perspective. The use of light adds depth too, for example, light falls on all of the characters from the right side of the painting illuminating each of the characters faces and showing details. Also, oil paints allow the painter to give intricate detail in the light and tone.
The two peacocks symbolize immortality and pride which were associated with the legend of Juno where flesh did not decay. Furthermore, two men are also present in the three way colonnade, emphasizing the castle’s position whereas the other man is said to be Van Eyck himself because of his similar attire to “Man in a Red Turban”. The use of a bright horizon along the top of the mountains which creates also known as an atmospheric perspective. In addition Rollin’s income came from Vineyards. In addition to my investigation I am going to look at another Northern Renaissance painting which is in a more secular style
Jan Van Eyck, The Arnolfini Portrait, 1434
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The famous painter Jan Van Eyck, also painted ”The Arnolfini Portrait” in 1434. It is a small scale painting and is created with oil on oak. “The Arnolfini Portrait” is currently presented at the National Gallery, London.
“The Arnolfini Portrait” is made by using oil paints which allow the painter to apply paint in translucent thin glazes, however oil paint has a longer drying time. Furthermore, artists can blend and achieve subtle variation in light and shade. Also, it heightens the illusion of three-dimensional forms and also renders the effects of both direct and diffused light.
A brush is seen overlapping forms which creates the illusion of space. The brush could possibly represent the Patron Saint of housewives. Similarly, oranges are shown to be placed on the windowsill which is a signal of wealth as oranges were not easy to obtain in Belgium. A diffused light comes from the window on the left, casting shadows and reflection on the chandelier and the figures themselves like their hands and face. This creates deep folds of drapery which are chiaroscuro. The use of pale colour in view indicates distance Also, a blossoming tree is seen outside suggesting its spring time.
A convex mirror is placed at the back ground of the painting which shows two figures facing the door.
The writing at the top of the mirror says “Johannes de Eyck fuit hic 1434� which means Jan Van Eyck was here.
In the foreground, a brass chandelier is shown with one candle burning whereas the other candle is burnt down to the stub. This could show that one of the figures are alive whereas the other has passed away.
The shoes discarded at the side show a life outside of the painting for the husband whereas the Costanza’s slippers are closer to the bed showing her relativeness in the household only. Also, it is interpreted that after marriage husband give their wives a pair of clogs
It has been said that this portrait is a living Giovanni di Nicolao Arnolfini. However, it is also a posthumous of his wife, Costanza Trenta, who died before 1433. This dog could represent their fidelity and also suggests their desire to have children.
Piero Della Francesca, The Baptism of Christ, 1448 - 1450
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This painting by Piero Della Francesca, was originally an altar piece and this painting in particular was placed in the centre. This depicts the moment St. John The Baptist poured holy water on Jesus Christ’s head to baptize him. The word “Renaissance” means “rebirth” and was introduced by the poet Petrarch. He believed that he and contemporaries had revived Greek and Roman ideals. In addition economy in the Italian city-states flourished. The Italian Renaissance was the earliest manifestation of the general European Renaissance. Christianity and religious subjects were common in the themes of art however some were highly critical of corruption leading to the Protestant Reformation in the 16th Century.
https://en.wikipedia.org/wiki/Italian_Renaissance
Piero della Francesca Piero della Francesca is an admired 15th century Italian painter who was also known as a Mathematician and geometer. Leonardo da Vinci abandoned plans to write a book about Piero’s comprehensive mastery in perspective where he combined clarity of colour, form and outline. His treatment of life builds on the perspective using shadows to give solidity and sense of depth which is then a result of stillness and religious solemnity. Overall, his paintings are characterized by it’s serene humanism by it’s use of geometric forms and perspective. His most famous work is The History of the True Cross which was created at the church of San Francesco in the Tuscan town of Arezo. The painting was a series of frescos
Piero della Francesca, Finding and Proving of the True Cross, Italian, 1452– 1455, Arezzo, San Francesco
Jesus Christ is placed in the foreground, he is semi nude with only a white cloth to wrap around his waist whereas the top half is completely bare.
On the left side of the painting, there are three angels and are dressed in the Holy Trinity colors which are white blue and red. The painting stable but also full of mystery and tension which has been achieved by the composition based on horizontals and verticals.
Furthermore, John The Baptist is on the right side of Christ and is wearing a red dress of sort. Both are centrally placed with the River Jordan flowing in the background.
Piero della Francesca, “The Baptism of Christ� is a painting deemed with divine proportion because of the Golden Ratio arrangement. We can see the golden ratio down the tree on the left hand side which is vertically shown whereas horizontally through the wings of the dove and in the clouds the ratio is presented in the upper half as well. The circle represents heaven and square represents Earth, Francesca tells us that Christ is the bridge between two which shows the importance of being baptized which links to heaven. This is typical of the renaissance period where geometry is now used to represent heaven on earth. The artists from the renaissance also depicted mythological narratives, which I will consider next.
The Birth of Venus
Botticelli, 1486, Tempera, 172 x 278cm
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The Birth of Venus by Sandro Botticelli and was made in 1486. Venus was born when Uranus (father of the gods) who was castrated by his son Cronus. He threw away away the severed genitals into the sea through which Aphrodite (Venus) was born. Poliziano is an Italian poet and this painting portrays a renaissance classical story. It can be interpreted that this painting was made for Lorenzo di Pierfrancesco de’Medici. A Greek philosopher Plato says that “contemplation of physical beauty allowed the mind to better understand spiritual beauty” which looking at Venus who was the beautiful goddess lifted the viewers mind towards god, lifted them towards the realm of divine love. The two aspects that Venus portrays through this painting is that she was a goddess who encouraged physical love or she was a heavenly goddess who inspired intellectual love.
Sandro Botticelli
Alessandro di Mariano Filipepi Botticelli (1445-‐1510), famously known as Botticelli for short was an Italian painter of the Early Renaissance and was known to be one of the most acclaimed painters in Italy and earned the patronage of leading families in Florence like the Medici Family.
Primavera, Botticelli, 1482,Tempera, 202 x 314cm
Self-‐Portrait, Adoration of Magi, Botticelli, 1475
Botticelli’s work contains depth into the human figure rather than on space, his work display melancholy and thoughtful images and his best known works are ‘Primavera’ and ’The Birth of Venus’ which I am going to use as one of my examples.
The first life sized representation of the female nude
Michelangelo, David, 1501-‐04
Venus is centrally placed with none of 3 figures overlapping her figure. This focus the viewers full attention on her and shows her importance. The goddess Venus holds her hands in the ‘Venus Pudica’ position which is similar to the famous statue of Aphrodite of Knidos by the Greek sculptor Praxiteles. Similarly, Venus is also standing in a contrapposto which is common in the classical which makes the figure seem alive and dynamic. The equal distance between the breasts, between the navel and breasts, navel and crotch, add up to the position of contrapposto just like Michelangelo’s David 1501-‐1504. The proportions show a lot of exaggeration however the long neck adds to the mysterious figure Birth of Venus is Botticelli’s first large scale canvas creates in Renaissance Florence where tempera pigments, unusual for the time period. This then resembled a fresco and is preserved exceptionally well. Venus’s hair, sweeps gracefully with a vibrant gold which is said to be inspired by Donatello’s Penitent Magdalen. This factor also adds to its mystifying qualities. http://www.artble.com/artists/sandro_botticelli/paintings/birth_of_venus
On the left side of the painting is the figure of Zephyrus who carries the nymph Chloris (Aura) as he blows the wind to guide Venus as she rides on the sea shell and sea foam to the Island of Cythera. The Zephyrus figure is leaning towards Venus in the centre and is half nude with wind blowing away the cloth wrapped around him showing movements. The flowers are said to be born when Venus was born. The figure Zephyrus carries is said to nymph associated with spring and blossoming flowers like those. Furthermore, blues and whites in the background represent the sea with curved lines.
On the right side of the painting, what seem to be the shore is known to be Pomona (goddess of spring) waits for Venus with mantle in hand. The mantle billows in the wind from Zephyrus’ mouth which shows drapery which adds to the realism. The goddess is dressed in white contemporary dress holding the mantle in both hands.
http://www.italianrenaissance.org/botticelli-‐birth-‐of-‐venus/
The Creation of Adam
The creation of Adam, Michelangelo, c. 1510, fresco from the Sistine Chapel ceiling 1508-1512,
The Creation of Adam is a fresco painting which is part of the Sistine Chapel ceiling. This painting is the fourth Biblical creation in the narrative and taken from the book of Genesis. It was painted c. 1508-1512 and shows the beginning of the first man where God breaths life into the first man. the man on the left depicted to be Adam and God on the right has become iconic for humanity and have been said to be the most replicated religious paintings of all time. The patron for The Creation of Adam was Pope Julius II and Michelangelo’s faith is expressed using ideas drawn from the classical antiquity and Michelangelo painted the frescos in just four years. It is said that Michelangelo’s paid a heavy price for his spine when painting these frescos and which showed that he was excellent at everything. This image is very famous today and increased Michelangelo’s status dramatically as it is seen as taking part in a totally new direction where it shows God with his beard and stern face surrounded by angels on the right. The Creation of Adam has a religious narrative which makes it a High Renaissance painting. The Higher Renaissance genre started in the 1490’s and represents the period when the ideals of classical humanism were fully implemented in both painting and sculpture and techniques like linear perspective, shading and other methods or realism were mastered by artists like Michelangelo (1475-1564) and Leonardo Da Vinci (14521519).
Michelangelo
Miguel Ángel (Michelangelo), Daniele da Volterra,1544
Michelangelo Buonarroti was an Italian sculptor, painter, architect and poet of the High Renaissance. He was the only artist of whom it was claimed in his lifetime that surpassed Antiquity and his career lasted for 70 years. Michelangelo studied sculptures in the gardens of of the powerful Medici family, also he was the dominant figure in 16th century. He always considered himself a Florentine, however Michelangelo lived most of his life in Rome where he died in 1564 aged 88. This is where his status and cultural value as an artist was established, most importantly through the pope’s patronage In Michelangelo’s lifetime he was often called I1 “Divino”(Divine one). He sculpted two of his best known works‘Pietà’ and also the sculpture of ‘David’. Michelangelo Buonarroti said his work to Moses for the tomb of Pope Julius II, 1513 be ‘terribilita’ where artist tried to imitate his inspiring grandeur of his highly personal and impassioned style. Michelangelo shaped his techniques of High Renaissance into mannerism.
On the left-hand side of the painting, we see Adam. Adam is reclining on his back with one arm stretched out towards the man on the right who is God. Adam is physically perfect, with perturbing limbs like his collar bones and chiseled torso, this shows Michelangelo’s precise anatomical rendition which shows the human proportions equally. Adam’s body forms a concave which echoes the form of God’s body. This adds to the suggestion that Man has been created in the image and likeliness of god which makes it a religious painting. Adam is in nude form which was typical of the classical era and seems to be idealized through the qualities this fresco painting contains. Adam’s expression contains many emotions like wonder and obedience and is seemed to be receiving some sort energy from God’s right finger. Qualities of a fresco painting include where plaster is applied on a wall of cartoons which are separate in different sections. Then paint is applied quickly to the wet plaster and it then dries of the wall along with plaster. The figure of Adam is based on classical statues for example ‘The Belvedere Torso’.
In ’The Creation of Adam’ two figures are placed in the midground and are shown to be the dominant figures. Adam to the left and God on the right with angels. The man who depicts God, is shown as an elderly, yet muscular man. He has a greying long beard and dressed in a baby pink almost sheer tunic which seems to be floating backward due to the forward movement of the flight. This is different to the typical images of God where he is shown to be wearing rather royal garments and is depicted as an all powerful ruler. Michelangelo has been inspired by depictions of the Greek god Zeus. This is typical of High Renaissance ideas. God is placed in a floating nebulous form which made up of drapery and other figures of angels without wings. God’s expression is in concentration to touching Adam’s finger on the left side of the fresco.
The Death Of Marat Jean-Paul Marat was a French revolutionary leader who was murdered by Charlotte Corday. It shows the most famous images of the French Revolution and shows the radical journalist lying dead in his bath on 13th July 1793 after his murder. Charlotte Corday was a supporter of the aristocracy and the Monarchy. Jean-Paul Marat saw himself as a friend of the people and was friends with Jacques-Louis David and seen his fellow Jacobin party member the day before he was murdered. Also, he was an editor for the magazine Ami de Peuple (Friend of the People). Marat had a skin disease which required him to stay in the bath to sooth his wounds which is shown in the painting.
The Death of Marat, Jacques-Louis David, 1793
Neoclassicism was born in Rome in the 18th century but spread all over the world, including Europe. The Death of Marat is an example of Neoclassicism because of the way Marat is idealized and flawless. David drew the Marat younger in this painting therefore making it a Neoclassical painting. Overall, The Death of Marat is a propaganda painting for the National Convention promoting the republican cause.
Jacques-Louis David Jacques-Louis David was a very influential French painter in the Neoclassical style and was important painter of the era. His way of history paintings marked a change from Rococo frivolity toward a classical austerity and severity. He was an active supporter of the French Revolution and close friend to Robespierre and was also a dictator of the arts under the French Republic. Furthermore, He was imprisoned after Robespierre’s fall from power. After David’s release from prison he associated himself with yet another political regime, Napoleon I where he developed his ‘Empire style’ where he used warm Venetian colors. Jacques-Louis David was the strongest influence on 19th century French art. His other known works include the “Oath of Horatii”. This painting displays figures in classical outfits and its moral tale of sacrifice was an important narrative in the build up to the first French Revolution
Jacques-Louis David, Oath of Horatii, 1784-1785, Oil on canvas Self-Portrait of Jacques-Louis David, 1794
The head of the Marat slumps back on his shoulder on the right side. His face and body is illuminated by an unknown light source from the left. Jacques-louis David sketched Jean-Paul Marat after he had been murdered to make it as realistic as possible and show the horrors of the martyrdom. Looking closer, the painting captures the moment of Jean-Paul Marat life slipping from life to death.
Head of the Dead Marat, David 1793, Pen
In Marat’s left, he held the treacherous note from his murderess Charlotte Corday. The note although written in French translates “Given that I am unhappy, I have a right to your help” Corday was a member of an aristocratic family and stabbed Marat fatally. Corday claimed “I killed one man to save 100,00”. Furthermore she did not flee from the crime and was later executed. As David visited Marat’s corpse and before the murder, there’s more refined details like the colour of the rug which is green, the papers and the pen. In Marat’s right hand, he holds a quill pen. In addition, a small list of charity donations lay on a box on the left side of the painting which says “to Marat”. David paid tribute to Marat with the inscription on the packing case that Marat used as a desk which could suggest year of a new revolution. All of this creates a false representation of Marat. Furthermore, beside the Marat’s trailing right hand lays the bloodied knife used by Charlotte to fatally stab him.
Due to Marat suffering from a skin condition, it was required of him to stay in his bath to soothe his wounds. However, David does not present his skin disease nor the signs of aging as Marat was killed when he was 50 years old. The pose the Marat is presented to be elegant and graceful which adds to his Martyr and antique-hero reputation. The Marat is idealized and it also has a symbolic meaning because of the trailing arm.
The Entombment of Christ, Caravaggio,1603-1604
Peter Paul Rubens, The Deposition, Altarpiece,1602
The Death of Marat is evocative of Caravaggio from his painting “The Entombment of Christ”. It is said to be also similar to Peter Paul Rubens “The Deposition”. Both these painting are religious paintings which could imply David wanted it to have some religious background too. This is called iconography where the elements within a work of art that act as clues or symbols to meaning. In the Marat’s case this means the symbolism regarding Christ’s resurrection, which suggests that David was implying that the Marat will live on through this painting.
The Execution of Lady Jane Grey The Execution of Lady Jane Grey depicts the interpretation of the moment before her execution of Lady Jane Grey who King Henry VIII’s sister and supported the protestant worshippers in the catholic faith. She was queen of England for nine days after the death of her cousin, Edward VI in 1553. Lady Jane Grey and her husband were executed at Tower Green on 12th February 1554 by Mary, who was a half sister to Edward VI.
Lady Jane Grey was just 16 years old when she was tried for treason and Mary, replaced her and became queen Mary 1st. Paul Delaroche was the most preeminent artist of his time and this painting is a famous example of the style neoclassicism. Neoclassicism are works which are serious, unemotional and sternly heroic. They also depict subjects from Classical literature and somber colors with occasional brilliant highlights
Paul Delaroche, 1833, Oil on canvas
Paul Delaroche Paul Delaroche (Paris, 17th July 1797 – 4 November 1856) was a French painter and was famous in Europe for his melodramatic scenes of English and French history. His work contains qualities of the Romantic style genre while the detail of his work along with the Deglorified portrayal of historic figures follow the trends of Academicism and Neoclassicism. Delaroche’s work aimed to depict his subjects and history with pragmatic realism. Paul Delaroche first exhibited picture was the large ‘Jehosheba saving Joash’, ‘The Young Martyr’ and his most recognized work ‘The Execution of Lady Jane Grey’ which I am going to use as one of my examples
Paul Delaroche Portrait by Eugene-Ferdinand Buttura, 2005 Paul Delaroche, The Young martyr, 1853
The painting of Lady Jane Grey is divided into three vertical elements. The execution of Lady Jane Grey is centrally placed so it shows the importance. On the left two ladies, they are shown to be in grief because of the execution. On the right, is the executioner patiently waiting for Lady Jane Grey.
Lady Jane Grey is centrally placed with Sir John Brydges who guides her towards the execution block. She is the main protagonist of this painting and she is shown to be just about to lean down on the execution block. Lady Jane Grey is blind folded and is anxiously fumbling for the block where she is about to rest her head. She is shown to be having porcelain pale skin which highlights her youthful age. Also, she stands next to an aging Sir John Brydges which gives us more insight when it comes to her age. Furthermore, Lady Jane Grey is dressed in crisp white silk which makes her appear almost doll like. She is has been in a bright white colors which makes her stand out strikingly from her surroundings. These characteristics that Delaroche used make her appear innocent and shows the features of chiaroscuro brilliantly because of the contrast between her and her surrounds which are mostly dark colors.
The execution block is placed on straws which were there to soak up the victim’s blood. Behind the block sits the cushion where Lady Jane Grey is going to kneel and rest her head on the execution block. Both these objects are centrally placed and they draw attention to them but at the same time evidently depicting what is going to happen to Lady Jane Grey.
Two ladies in the background of the painting are shown. One is dressed in warm toned dress and is seated on the floor. Her position of seating is grief stricken and her face is thrown back in agony which reflects the solemn mood of the painting. Furthermore, the lady behind her is dressed in even darker almost black clothing which creates the chiaroscuro effect for it shows the contrast between the first lady and the second. This is different to Lady Jane Grey’s appearance and dressing.
Delaroche also adds classicism to this painting. The executioner is standing on the left in the classical contrapposto stance. This stance is usually seen in sculptures of heroic figures from ancient classical art and demonstrates the academic training of Delaroche. This painting has more close links to previous revolutions in France. I will analyze paintings further regarding this social events.
Liberty Leading the People
Delacroix, 1830, Oil on Canvas, Large Scale
“Liberty Leading the People” depicts the Revolution that took place in France in 1830 against the Bourbon King Charles X. This put the July Monarchy of Louis Philippe in power so this image commemorates when the Bourbon monarchy of Charles X was overthrown. Delacroix took no part in the 1830 Revolution and this painting is a mixture of the real, the invented and allegory. This painting is visually striking, capturing the excitement and energy of the revolution and the struggle for freedom. ”Liberty Leading the People” is a Romantic styled painting. Originally Romanticism was being recognized in the1780’s but was formally introduced in the 1800’s, Romanticism included drawings to show emotions not yet felt through art and also put it’s viewers in place of the figures which are present in the paintings, through the painters artistic ways.
Eugène Delacroix
Eugène Delaroche, c. 1837
Delacroix was a French Romantic artist who started as a leader of the French Romantic school. Delacroix thought the task of the artist was to employ imagination and invention to form a bridge between his mind and that of the spectator. Delacroix’s work contains emotions with intense color. Delacroix’s use of expressive brushwork shaped the work of impressionists. His expression was inhibited and his canvases exploded with energy. Eugene Delacroix fascination for destruction and violence and brought them to life through brilliant colors and is known for his technical innovations. This use of brushwork and color led him to make paintings like “Massacre at Chios”
Massacre at Chios, Eugene Delacroix, 1824, http://www.eugenedelacroix.org
Delacroix breaks the tradition of subtle modulation of colour and applies brilliant pure pigments for example the primary colors like the strong red and blues in the Tricolor French Flag and the yellows in the background of the clouds. Eugene Delacroix gave it a strong visual impact which suggested optimism and belief of the French people .
In the midground, we have Liberty. She is centrally placed and she has been personified. Furthermore, Liberty is semi-nude muscular female and wears the Phrygian cap of liberty which was worn during the first French Revolution. Eugene Delacroix uses the same color as her dress on the neck tie of a revolutionist, this technique unifies the painting. In addition, Liberty holds the French Tricolor flag in her right hand which Charles X banned. The flag represented the revolution and democracy. In her left hand Liberty holds an infantry musket and she portrays altogether the symbol of struggle for freedom. Liberty is not an actual person but rather the embodiment of an idea where Marianne (the French call Liberty Marianne) is allegorically representing democracy. Paris at the time was largely medieval with narrow alleys and could be easily blocked allowing revolutionaries to shows sections of the city. Moreover, from Ancient Greece came democracy which could be Delacroix’s intention to remind us by his use of partial nudity. Delacroix creates a pyramidal shape with Liberty as the peak and the dead fighters in the below her form the base. This balances out the hectic and crowded canvas.
In the midground, on the left side of Liberty two figures are presented. One is a bereted street urchin brandishing a pair of pistols which could represent a member of the lower class beside him is a top hatted figure, waist cost and jacket who could be interpreted as an artisan or chief of a workshop which could represent a member of the middle class. Both these figures represent very different social classes which shows that the revolution unites all social classes like the lower/working and the middle class who are fighting against the ruling aristocracy.
In foreground, a series of dead bodies are drawn under Liberty. On the left is dead corpse of a man dressed in a long white nightshirt to symbolize the nights of terror created by Charles X royal troops where suspected revolutionary sympathizers were murdered by getting shot and then dragging their bodies into the street as a warning. This is supposed to enrage the viewers. However, on the right a French royalist corpse is drawn which shows the enemy as vulnerable.
In the background on the right side of the painting is the Notre Dame which is flying the Tricolore flag. The Notre Dame was a symbol of the King’s power but a tiny tricolore is visible on one of the towers of Notre Dame however below some royal troops regroup which suggests that victory is not yet confirmed. Overall this painting is made for propaganda like the expression of the righteous selfdetermination of the French people or chilling reminder about the power of the mob that destabilize the society of France.
The Raft of the Medusa ’The Raft of the Medusa’ also known as (Shipwreck July 1816) was a political scandal which was blamed on the incompetence of the captain who was employed by the new Bourbon King Louis XVIII. Gericault painted an epic representation of human misery and could also be linked to the issue of colonization. This shipwreck at the time of sail carried 149 people, including 1 women and 148 men. At the end of this disastrous event 15 were rescued whereas only 10 survived. The ship was in sail for 13 days and the people on the raft were stranded due the ship not having enough life boats, therefore leading the captain to create a raft out of the ship. They had no food with just a barrel of wine which led them to resort to cannibalism to survive This is another great example of the genre Romanticism where artists portrayed their emotions in their work with the use of realistic artwork showing horror and terror and awe. This is similar to the painting ”Liberty Leading the People” by Delacroix. Delacroix and Gericault are excellent examples of romanticism for their use of emotions in their artwork.
Théodore Géricault, 1818-19, Oil on Canvas
Théodore Géricault Theodore Gericault was a French painter born 1791 and was a highly influential artist even though he only lived a short life at 32 years old. Gericault was one of the first painters to use the Romantic style where an emotional feeling depicted in their works. Gericault’s works included horror, terror and awe and were quite dramatic and individual. Gericault was influenced by the military subjects and his appreciation of Michelangelo intensified when he paid a visit to Italy 1816-1817. Gericault died 1824 but is one of the pioneers of the Romantic movement. His work included ”Riderless Racers in Rome”
Théodore Géricault, Riderless Racers in Rome, 1817
Théodore Géricault, Alexandre-Marie Colin, 1816
• On the right hand side of the painting we see a bloodied axe representing the cannibalism that took place on the shipwreck. Gericault in order to achieve as much realism as possible in the painting interviewed the 10 survivors who told him that they ate other sailors on the ship to survive the horrible events of the time. • The figure in this painting are placed in pyramidal composition. For example, the figures at the front of the ship are shown to be waving down a nearby ship which is said to be the ship ‘Argus’. The use of the sailors emotions where the ship represents hope to the sailors pulls the viewers actually into the picture which is what Romanticism about, which putting its viewers into an awful situation • Gericault also included a French officers uniform which suggested that he blamed the event on tan old and unqualified captain who caused the Medusa ship to sink
Gericault planned this painting out like a classical painting and the studies show the sketches of the survivors that were on the disastrous shipwreck.
Furthermore, Gericault whilst interviewing the survivors also visited the morgues to paint dead flesh to get the detail of drowned flesh correct. This is typical of Romanticism as Gericault wanted the viewers experience to be authentic